Tag Archives: Harry Price

The Balletboyz have carved out a fantastic reputation for themselves in the twenty years or so since they left the Royal Ballet. I first saw Michael Nunn and William Trevitt in a Dance Bites programme at the Wycombe Swan back in 1996, sharing the stage alongside such great names as Deborah Bull, Jonathan Cope, Adam Cooper and Dame Darcey Bussell. Their name came from a TV film they made of their creative partnership, and in about 2001 they created the George Piper Dances. But the Balletboyz label stuck, and wisely they reverted to that catchy name by which they are respected and loved today.

Them/Us is a new programme partly devised by the current group of dancers under the direction of Messrs Nunn and Trevitt, and partly choreographed by Christopher Wealdon. It’s a creative process that has worked backwards. Us, the second act of the programme, is an expansion of an original pas de deux choreographed by Mr Wealdon, which premiered in 2017 to great acclaim, designed to provide more of a narrative introduction to the existing work.

And then before the interval, Them – created by the company – is a further introduction to the later content, taking ideas from the dancers as to the very varied definitions of what Them might mean (to them, obviously). The result is an exciting and exhilarating double-act of dances, with fantastic performances of variations on similar choreographic movements, reflected between both pieces.

Them starts with six dancers, in multicoloured tracksuit-type shirt and trousers, seemingly meeting for the first time. A large and sturdy cube structure is walked into place, with which the dancers interact, walking through the spaces it provides or being enclosed by its invisible walls. The dancers each set up their own choreography with one another, whether it be handshake-type gestures, jokey gymnastics or intimate closer movement. As the dance progresses, two dancers who are already working together will attract a third to their group; and then a fourth, and eventually a chain of dancers linked by hands starts to envelop and wrap around itself. It’s almost a viscous flowing movement; it reminded me of the swirly convolutions of a model of a double helix molecule.

Although I couldn’t truly discern a clear and obvious narrative to the dance, what struck me was that it was all about individual people supporting each other. This is not one of those male-oriented dances that is all about supremacy and survival of the fittest. This is an environment where everyone matters, and conflict is replaced by care. This sense of charity and kindness continues on to Us, where the six dancers now appear more formally in long grey jackets, a little like frock coats, but their movements become freer as the jackets come off and they just appear in white shirts. The whole momentum culminates in the original duet, where the shirts are also removed and the whole final sequence reminded me of a guy looking at himself in the bathroom mirror, unsure of what he sees in his reflection; until his reflection takes over and reassures him that all will be well. Or, it could be a simple love story. Either way, it’s one of the most dynamic and tender performances you’re ever likely to see between two male dancers.

I was particularly impressed with the fluidity and flexibility, not only how the dancers used their bodies but also in their control of the choreographic movement throughout. Nothing was ever distorted, jarring or irrational in its movement; even when the music suggested a throb of pain or a blow to the head, everything flowed beautifully, with the effect that it made the dancers’ performances look easy – which of course, is far from the truth! That the company members possess great skill is obvious; what they also have is an enormous understanding and trust between themselves, which really becomes apparent in such a detailed and accurate performance.

The whole company dance with enormous strength, style and emotion; but, to name names, the final duet from Harry Price and Bradley Waller is stand-out sensational, and I also really enjoyed their performances alongside Liam Riddick earlier in the evening, who is on immaculate form as always. Coming up the ranks Ben Knapper performed a fantastic solo inside the cube to powerful drum rhythms and he is definitely my new One To Watch in contemporary dance. And I haven’t even mentioned the thrilling music!

A full Sadler’s Wells on a Wednesday night speaks volumes for the popularity of the company and the esteem with which it is held. After their week in London, their tour continues to Salisbury, Bromley, Portsmouth, Newcastle, Exeter, Chester, Richmond, Guildford, Glasgow, High Wycombe, Oxford, Finchley and Bristol by the end of April. Powerful and emotional – a must-see!